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Press Releases - Art News

Antonio Pessoa - Imagination

Antonio Pessoa - Imagination

Throughout his Contemporary Fine Art odyssey, and very particularly when it comes to what absolutely involves the "Free" heart and soul, Pessoa describes commitment as everything that goes with it, Imagination, playing for keeps, making Art, communicating through Art and going the distance. After Imagination, the two keys to living life full, Passion and Commitment. Heartfelt Passion for his dreams and artistic projects and Commitment to systematic research, aiming at new solutions, new action plans, new artistic, social and public performance. Using the power of his Art in the direction of truth, love and togetherness, Pessoa is well aware that his world is substantially the power to create. His world is the gift that comes directly from Imagination. Imagination changes our views and changes our mind. Changes Art and it can change the World! In Art, perspective first appeared in the Renaissance, as a system for making paintings look more like the real world, incorporating distance as well as size. Gradually the term broadened to refer our mental outlook over time, as well as our visual. Of course, our mental and our visual outlooks are connected through the act of perceptive Imagination. Art is also a metaphor for reality, and just like reality it isn't static, it moves and changes and none of us are able to see the whole thing at any one time. Antonio Pessoa uses his Imagination to connect Art with the outside world through sight, color, texture and meaning. But far from delivering us a universally consistent view of the same old concepts, his rich Contemporary Fine Art highly communicative expression is shaped by his Imagination. Imagination, personal and artistic sustainability, daring to transform ideas into artworks. The contemporary young master dances often with his lover and partner called Imagination. They wouldn't dream of performing their best without recounting the lessons they learn together. One has only to look upon his latest great works of art, beautiful performances in color, concept, aesthetics and visual literature. Imagination is a fascinating system of rules of conduct or methods of practice, synonymous with invention, artistic intuition and intention. Imagination jumps out and its presence challenges the artist to be true to his standards. Imagination lurks in the Studio shadows surrounding every crowning moment, Antonio Pessoa takes it by the hand and spin it around the Art Studio dance floor a couple of times then they become a dance team. Art Action time! Using Imagination consciously is Pessoa's secret to creating the Art of his dreams, the visual literature for his public.Communication. It has little to do with technique and everything to do with creative awareness. This cause and effect relationship is after all the heart and soul of the artist's Contemporary Fine Art new series general concept. The key factor for Antonio Pessoa's latest artistic significant changes, discoveries and progress was his ultimate decision to put himself in the right environment that could not distract him from the creative process he intended. Studio 1 ! Most of the time during the making of these charming artworks he sets aside a reasonable amount of hours in a row totally concentrated in this fascinating artistic challenge.

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Armando Barrios | Ritmos visuales

La obra del maestro Armando Barrios oscila continuamente entre la figuración y la abstracción racional geométrica. En sus inicios, Armando Barrios comenzó pintando obras de naturaleza figurativa siguiendo los parámetros de la escuela paisajista de Caracas y paulatinamente, fue alejándose del mundo representativo hasta crear un mundo heterogéneo de formas y colores.

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Cynthia Daignault's First UK Exhibition

Cynthia Daigneault, At Picture Lake, 2017. Oil on linen. 60 × 96 inches.

Cynthia Daignault
Picture Lake


September 30 – November 4, 2017
Opening Preview: September 30, 2017

 

We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides -- pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. 
"No one sees the barn," he said finally. 
A long silence followed. 
"Once you've seen the signs about the barn, it becomes impossible to see the barn."
He fell silent once more. People with cameras left the elevated site, replaced by others.
We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." 
There was an extended silence. The man in the booth sold postcards and slides. 
"Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism." 
Another silence ensued. 
"They are taking pictures of taking pictures," he said. 
- From White Noise by Don Delillo. 
The Sunday Painter is delighted to present, Picture Lake, the first UK exhibition by American artist Cynthia Daignault, and the inaugural show in our new Vauxhall gallery.
 
In 2015, Daignault traveled around the entire circumference of America, stopping every 25 miles to paint the scene before her. The resulting work, Light Atlas, became an epic of 360 painted scenes. Here, in her follow up to that work, Daignault set out to invert its logic, taking a single painting from the Light Atlas to parse the infinity within one frame: Picture Lake. Deep in the Pacific Northwest, the lake is so named as it presents the ideal composition for a photograph: the stock image or computer desktop background. The mountain scene reduces to a signifier of platonic landscape: mountain, sky, lake and trees. It is an image that contains within itself a meditation on art and index in reflection of the mountain on the lake, reflected again in image and text.
 
Picture Lake is an exploration of semiotics. Daignault layers the syntaxes of painting and photography side-by-side, in an attempt to understand both the single moment and our primal need to capture it. Ultimately the works embrace the certain failure of all such attempts to document, becoming as much about the limits of media, memory and language, as about the inevitability of death. Life and landscape are fleeting, and these works invoke that contemporary pathos of dread, exploring modern anxiety through the awe and terror of the sublime, both technological and environmental. For Daignault, life exists on the precipice of the singularity, on the razor's edge between binaries: past and future, painting and photography, real life and screen life, 1s and 0s, existence and death.
 
Cynthia Daignault is an artist living and working in Brooklyn, New York, and Baltimore, Maryland. Daignault received a BA from Stanford University, California. Her work has been the subject of numerous solo exhibitions, including shows at FLAG Art Foundation New York; Stems Gallery, Brussels; Lisa Cooley, New York; and White Columns, New York. Her works have been included in many museum exhibitions, including at the Metropolitan Museum of Art, MASS MoCA, the Fort Worth Modern, and the Brooklyn Museum of Art. Her epic work Light Atlas begins a four-year museum tour in America, opening in September 2017 at the Herron Museum, Indiana. Her first major monograph, Light Atlas, will be released in 2018.
 

 

 

For press inquiries contact Becky Elmquist at This email address is being protected from spambots. You need JavaScript enabled to view it..

Copyright © The Sunday Painter, 2017, All rights reserved.

Our mailing address is:

The Sunday Painter

1st Floor, 12-16 Blenheim Grove

London SE15 4QL

 

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Secundino Hernández - invitation to the opening

Secundino Hernández - invitation to the opening

 Secundino Hernández: In October Ecstasy

September 29–November 5, 2017

 

Secundino Hernández (b. 1975) is known for his expressive paintings, deriving from the premise of figurative expression and containing references to Francis Picabia and Joan Miró, amongst other surrealists. In his latest body of work history, however, appears fragmented, its components concealed or scattered. Splinters of colour, layers of primer folding on the canvas, the fabric laid bare, Hernández explores the destruction of painting. Radiating fascination with the creative process, Hernández’s work grounds the visual power of painting firmly in the present.

Secundino Hernández graduated from the Universidad Complutense Department of Painting in Madrid, Spain. His most recent institutional solo exhibitions have been at the Yuz Museum, Shanghai (2015) and Maison Louis Carré, Bazoches-sur-Guyonne, France (2014). His work is in numerous institutional and private collections, including National Museum of Wales, Cardiff, UK; Auckland Art Gallery, New Zealand; Museo Patio Herreriano, Valladolid, Spain; Helga de Alvear Foundation, Cáceres, Spain; The Rubell Family Collection, Miami, USA; Kunstdepot Göschenen, Switzerland and the Art Gallery of Ontario, Canada. Hernández lives and works both in Madrid and Berlin. Galerie Forsblom has been representing Secundino Hernández since 2010.

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Secundino Hernández - inbjudan till vernissage

Inbjudan
Stockholm

Välkomna till vernissage
i konstnärens närvaro
torsdag 28 september, 2017, kl. 17–19

Secundino Hernández: In October Ecstasy
29 september–5 november, 2017

Secundino Hernández (f. 1975) är välkänd för sina expressiva målningar med influenser av den figurativa expressionismen och med anknytning till surrealister som Francis Picabia och Joan Miró. I hans senaste verk framstår historien däremot fragmenterad i sönderfallande eller dolda beståndsdelar. I skärvor av färgstråk, lager av grundfärg som vecklar ut sig över duken och med väven blottlagd utforskar Hernández måleriets förstörelse. Genom detta framträder en fascination över den kreativa processen som ger Hernández verk den visuella kraften av ett måleri fast förankrat i samtiden.
 
Secundino Hernández är utbildad vid fakulteten för måleri på Complutenseuniversitetet i Madrid, Spanien. Hans senaste institutionella separatutställningar var på Yuz Museum i Shanghai, Kina (2015) och Maison Louis Carré I Bazoches-sur-Guyonne, Frankrike (2014). Han är representerad i flertalet privata och institutionella samlingar, däribland National Museum of Wales, Cardiff, Storbritannien; Auckland Art Gallery, Nya Zeeland; Museo Patio Herreriano, Valladolid, Spanien; Helga de Alvear Foundation, Cáceres, Spanien; The Rubell Family Collection, Miami, USA; Kunstdepot Göschenen, Schweiz och Art Gallery of Ontario, Canada. Hernández bor och är verksam i Berlin och Madrid och har representerats av Galerie Forsblom sedan 2010.

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